February 7, 2010

Nothing is more effective as a pointer, or more nourishing to the soul, than exposing a child to calligraphic greatness before he can understand what artistic greatness is.

According to the academics, the “conventional wisdom” claims that a sense of beauty with regard to art is non-relative and non-objective. They claim that everything about art is so abstract! They claim that art is never specific, nor concrete. Such “conventional wisdom” may indeed hold true if you don’t know who to ask about artistic greatness! At an academic setting, the art professor, who is essentially a blind man himself, — hee, …., of course that person cannot answer your question on artistic greatness,– the poor guy cannot even tell you what art is!

There is nothing more concrete in the world,– more relative or more objective, than true art ! For that reason, it is crucial for you to let the Alpha Seer crush the so-called “conventional wisdoms” into “conventional stupidity!”

It is important to shatter all superstitions and mental conditionings before one can rise to greater things, so one may safely conclude that one’s mind has been duly liberated!

Such is the magic of Alpha Seeing!

With the aid of alpha seeing here,–do challenge your professor,– or any academic for that matter,– (since not all professors are mediocre, ) who blindly preaches that art is absolute and subjective.

Stupidity is in all forms of mental conditioning!

Art is comparative, according to the Alpha Seer,– thus it is possible to establish the objectivity, relativity and concreteness in art,–which are not obvious to the blind.

Through this comparison, therefore, have your own “examination” of art by comparison as a first step….

Here are two of the greatest Chinese calligraphers of all times, Chao Mang-fu and Wang Hsi-chih. Let us assume Wang’s calligraphy is relatively greater than Chao’s as a first step, then with the Alpha Seer’s seeing as a guidance, allow your own critical sense to develop from there.

1. Wang’s art appears to have much greater variety, compared with Chao’s, in terms of composition, movements and balance.

2. Chao’s metaphors are extremely handsome, and his mastery of the brush, in coordination with the use of ink, utterly superb. However, there is a constant self-consciousness in Chao’s calligraphy, which is hardly detectable in Wang’s, whose sublime wrist had moved like powerful whirlwinds,–anything within its influence cannot but obey and dance in the rhythm that it improvised.

3. The variety in the metaphor creativity,– with Wang,– it is so absolutely natural and unchallenged!

4. Neither Wang nor Chao resorts to a personal “style”, or any personal characteristic in order to appear outstanding. There is nothing particularly unique in appearance, nor anything outstanding in the styling of their metaphors,–but that casualness,– that simplicity, or primitiveness in appearance, one without cosmetic effect or artificiality, is precisely what has generated the pleasantness and deliciousness for the feasting eyes of spectators for thousands of years. While others rely on a certain trademark to announce their presence, by smartly demonstrating a streak of inventiveness, for example, — neither Wang nor Chao had left us anything with such artificiality or mental quaintness,–one really should be thankful for that!

Needless to say, the examination you have just gone through is that of two attitudes of art. Now will you still insist, like the academics, that art is not specific, non concrete, non relative, and subjective? — THE ALPHA SEER

June 3, 2009

Either the Alpha Seer had never had any luck with the assistant principals in the world or they probably would say the same thing about me. It may seem like gross generalization to say all assistant principals in the world are the same,– but wait, my friend : an assistant principal is an assistant principal! The person who assumes that role must be a perfect first jailer of your life. Then the High Priest in the guise of Confucius/Manus/Plato/Jesus/Jehovah/ Mohammad asserts his influence. Like gestapos in perfect coordination, the assistant principals conspired to build a prison to house your life in. Whose life is it? – there you wonder. Why, it is the life that the assistant principal wants you to morph into, of course!

The assistant principal has to be a bully and an enemy to all that which is enlightened, harmonious and kind. His job is to condition you, to break you in so that you may fit with the norm, good for the norm, strive for success, uphold the mediocre and become one of the herd. Gross generalization?– no, my friends,–wait! the assistant principal who has failed to meet those criteria have long since been booted by the school board, made up of like-minded personalities.

There are in fact countless assistant principals in a person’s life. Mom and Dad, for example, who are the victims of their own assistant principals themselves, had become your pre-assistant principals. Then you continue doing the same nonsense to your own children, all the while thinking that it is the right thing to do! You have become the post assistant principal. And that cycle goes on and on.

So children of the world, rise!
Be childish no more so you may take back your own life again,– so you may break out from this vicious cycle and put an end to the unceasing Jihads and Crusades.

You do not need an assistant principal to run your life, or to breed future hitlers, maos, cheneys and kim jong ils. Isn’t this world awful enough? Aren’t you miserable enough?

Rebel against all assistant principals in the world, children!

And childish no more, so you may be enlightened,– and while assuming responsibility, mature into the world of the true human, then the beyond, ….

And with defiance, proclaim your liberty by grabbing it back from those vermins of the heart!

show detailsJun 1 (2 days ago)

Reply

That’s a beautiful linocut, Ben.

Regards

Toni

Toni Stern is the world famous lyricist for her collaboration with Pop singer Carol King in producing some of the best songs in the 70s.

more on Nobel job

Actually there is a story that goes with this work. One day an elementary sch…

12:12 PM (18 hours ago)

Ben LauLoading…

12:12 PM (18 hours ago)

show details12:12 PM (18 hours ago)

Reply

Actually there is a story that goes with this work.

One day an elementary school Assistant Principal saw this drawing and was she so very much thrown off her balance and thoroughly displeased! She almost succeeded in driving me out of town by telling everyone she met that the Apha Seer could be the equivalent of a sex offender, –that no kids should be seen around him at any time,– while she had the website: www.mnartists.org~ben lau to show as proof.

Fortunately her superior told her that she had overreacted and the tempest she had raised was so unnecessary….

The Alpha Seer wants the kids to get to this picture one day. I mean,– why not?— who would want to be as immature, and as ignorant, as our Assistant Principal all her life?

A man and a woman making love is just the Alpha Seer’s way of creating a metaphor for the dynamic universe, the resultant Yin and Yang interaction.

Any one still think that is ugly?
My suggestion is pee a pool and mirror yourself in it. Then tell me what is uglier?

If your ancestor the dinosaur and you run into each other at a zero-time rendezvous, she might think you are just as pretty, if you can beat the odds, that is to say, . . . That should settle the case for all elementary school assistant principals in the world.

THE ALPHA SEER

Reply

THE GREAT KNOX MARTIN RESPONDS:

LUVIT! KNOX

REASON FOR THE NOBEL PRIZE AWARD:DRAWING WITH A GEOMETRIC GROUND PLAN,– BUT ALL ON THE NOBEL COMMITTEE MUST BE ABLE TO SEE WHAT KNOX SEES.

May 5, 2009

The Alpha Seer has set up a “million
dollar job” by Picasso Versus one “2 million dollar
job” by Knox Martin.

Let’s “eyeball” each work set up side by side in Figure 2 below.

SCORES

Line quality scores:

Picasso’s m Vs. Knox Martin’s 2m

Alpha Seer’s comment: Knox Martin’s lines come alive like
black flames. They have come alive with such songs,– dancing with such
energy! Picasso’s lines are indeed strong, sturdy and
wholesome but they are too somber–-like the weeping
woman he is depicting,–those lines lack gaiety or humor.

Composition scores:

Picasso’s m Vs. Knox Martin’s 2m

Alpha Seer’s comment: This Picasso is figuro-centric,
which means Picasso has placed a ton of attention on the
subject figure (i.e. the weeping woman) whereas Knox has wisely avoided such a focus of attention. The

entire field of engagement has become Knox Martin’s subject matter. Knox has placed emphasis on

every single point within his composition. The woman metaphor has become

merely an excuse for painting, –not the reason.

Line removal scores:

Picasso’s Vs. Knox Martin’s 2m

Alpha Seer’s comment: Do this mental experiment: try to
remove one or two lines from each of the
paintings in turn. You will discover that, with the
Knox Martin, every single line has become so crucial,– and if
you remove one, the whole composition will simply collapse.
Not true with the Picasso! What does that
tell you? The Picasso has lines that are not critical, correct?
One may remove a couple of those non critical lines and the composition
remains intact. Does it not say something regarding the significance of lines in each painting ?

Yes, sir! In the Picasso painting, even after one has removed some lines the composition still won’t fall apart. There are some lines that serve decorative purpose only in the Picasso painting, that is why they are not critical.

Hardly the case with the Knox Martin painting. Knox’s lines are not cheap!

Invention scores:

Picasso’s m Vs. Knox Martin’s 2m

Alpha Seer’s comment: Picasso, like Cezanne or Matisse or
thousands of masters before him, finds a ready motif in
nature , then simply create metaphors to represent it.

Knox Martin, on the other hand, creates his own motif. He has created a
new world so different from ALL the rest! What he has produced

is a whole new ball game, a new paradigm in painting, like they
say… .

Geometric ground plan

The adoption of a geometric ground plan in Knox’s composition has endowed more dignity and compactness to his forms. Picasso’s forms are complex and compact, but the geometric ground plan is more or less implied. It is hard to ask a Picasso to execute his work from the start with a geometric ground plan. He is no Ingres or Cezanne.

…………………………………………………………………………………………………………………………………….

No one should say, “Ah! I’ve caught the Alpha Seer saying that

Picasso is inferior to Knox Martin!”

But what a cheap accusation!

No, the Alpha Seer
has not implied any hierarchical order at all! Picasso is my
hero,never, NEVER doubt that!

I have often been fascinated by Picasso since my childhood.

However, when I make that comparison, I presume that you have followed every step, haven’t you?
I have merely pointed out a few obvious facts, haven’t I ?

And my method is comprehensive,– even to a child. Isn’t it?

The Alpha Seer is simply saying :

A great master in Picasso’s caliber is with us today!
His name is Knox Martin and he
has changed all
equations in Painting,–and bent all rules,– like a true rebel he is, . . .

Henceforth you don’t need an Alpha Seer to point out beauty to you anymore. I expect everyone

to have intuitive clarity from now on. The world at large may remain deluded,–they may be fully in awe of

the “big scholars”, the museum directors, the art critics, the so-called specialists,–that is their business.

But the new generation of Wahyanites are simply too smart to be fooled. They have been chosen by the enterprising Jesuits,–that is why they are Wahyanites! They are not in awe of any “specialist,” they stand fast to their own intuitions!

Figure 1: Tang Dynasty masterpiece calligraphy

**************************************************Beauty is universal, timeless, and nameless,– as it is only found in the realm of the sacred! For that reason, I have introduced two pieces of very beautiful Tang Dynasty Chinese calligraphy (Figures 1) for your appreciation and judgment, by way of serving as a kind of reference to our current comparison. Most of us in America cannot read Chinese, but that calligraphic beauty speaks to any earthling! By the same token, I cannot read musical notes,– yet the beauty of Mozart dearly touches my heart ! No one is concerned about meaning here. Beauty is beyond our mundane existence, far beyond the material. Art does not deal with meaning, which serves the material. Art exists in the divine realm of the immaterial,–or the spiritual,–or whatever name you are prepared to give to that which is profound and mysterious.

Always trust your intuitions, folks!–The “art” guru, himself blind as a bat, has posed as the wise one on mountaintop and you have allowed him to lead you on. Not only that, he has always lied to you–this abominable charlatan!– who, for a pittance, a bit of tenure at an art school, or for the fanciful title of art Professor, readily sells out his soul! Most would simply usurp the directorships of museums in every single city in the world you care to name, . . . Yet you have placed yourself in his hand simply because he came down on you with a big enough title-and you were impressed! He has succeeded in making you believe that you are incapable of aesthetic judgment, so his authority cannot be challenged! He had lied in Cezanne’s time and he is still lying to you in your time! Your intuition is the only thing you can count on but he wants you to disbelieve yourself! “Conceptual art? Is there such a thing?”– You earnestly asked. But they ignored you and went on with their boring displays year after years at the Walker, the Whitney, or the Guggenheim,–in fact, all over the world! You have suffered this degradation quietly because you have been busy dealing with the existential,–but deep inside you still yearn for the real things, . . . Meanwhile your ever growing herd instinct defeats the nobler nature of your being, and you are forced to delegate the spiritual to the “specialists,”– at the risk of the well being of your soul! “Leave the judgment of taste to the experts,” you carelessly obeyed this herd instinct,– and you return, somnambulist-like, to your day to day absorption,– and yes, the T.V. …., that perennial entertainment!

Once the Alpha Seer had declared : The rebellion is here, have courage,–Wake up! But just as instantly voices affecting of deep annoyance had accused the Alpha Seer of speaking in delirium. An American academic, mouthing her postmodernist jargons like a cow, suddenly stood up to argue with the Alpha Seer,–trying to prove him wrong! Picture this, folks: a blind person desperately trying to prove a Seer wrong! A cattle cow with her herd instinct hoping to wrestle down the will of a lion, . . .

But my dear Wahyanites, those of you who have understood today’s lesson,– capable of seeing
art independently,– and above all, with clarity, will have the Alpha Seer’s congratulations-–
for indeed you have gone far! The academics have no understanding at all. They are just straw-men. Nay, even worse, since their parasitic existence has also loudly proclaimed their realities as con-men! They only know what is on the periphery of things,– sure, they may know a few things about art,–but always on the circumstantial. Their problem is, they become constantly intellectual about everything! As academics, they have been fated to marry their mind to their miseries. They have been involved in the business of acquiring knowledge for too long,– as to render their intuition blunted, ending up spiritually blind! Talk to any academic you chance upon and you will know what I mean.

Today you have looked into the very depth of art! You have stood on its epicenter! Your intuition is so much richer, stronger and healthier than any academic in the world!

Do you realize that it is quite senseless to discuss global warming, or the Iraq War, an ethnic cleansing here and there, Islamic Terrorism, sectarian killings, some totalitarian regime’s dismal human rights record, or any other problematic basket-loads for that matter,– unless we are fully at peace with ourselves,–- no more confusion or delusion at heart, capable of seeing Beauty firsthand–- NOT through knowing it as an ideal, a symbol, or a surrogate,– but to really see it with our own intuitions!– free from all kinds of conditioning. Instead, one should commit oneself to get inwardly interested,– to love this beauty without reservation, to feel–-to really feel,–- and be intoxicated by true poetry again!

When you have the key you can open all doors. That key is your own intuition. Never trade intuitive understanding of beauty for cheap ideas from the charlatans,–i.e., the postmodernists of our time, . . . That, if anything, is the only purpose for this comparison!

Awesome Picasso; more awesome Knox Martin, . . . Much more!

Figure 2: Comparing a one million dollar job with a two million dollar job

So, you may now put on your happy finery and go see the
Picasso paintings at the Walker Art Center. Remember that from now on nobody can dictate your taste or guide you to whatsoever is worthy of an exhibition at such public venues as the Walker Art Center. You are on your own now,–for better or worse… .
***********************************************************************

Knox’s art can be traced back to the European tradition, which in turn inherits from ancient Egyptian and Greek Art, whereby a composition is built from the ground up, with the adoption of a geometric ground plan. Here I am trying to use curves and straights to indicate how that device works in the superb compositions of some of the greatest European Alpha Seers in the past. The constructions shown in the diagrams below are self-evident and self- explanatory enough,– so any further thesis from me on this topic will be counter- productive. Additional theories or analysis can inevitably reinforce the mistaken and moronic notion that somewhere along the line there exists a program for the creation of art,– and provided that you follow every step and learn them well you can one day paint like a master too. Even a 6 year old can call it bluff, — that such a claim is totally fraudulent!

The visual metaphor is the heart and soul of a work of art. The vehicle for the metaphor’s expression is part and parcel of itself. How beautifully it is being communicated is often determined by how profoundly the Alpha Seer can express himself. As such, a metaphor is in and of itself a vehicle for communication. In that sense, one cannot distinguish the metaphor from its carrier, since it serves as its own vehicle. The metaphor is the vehicle. The subject matter of art is art itself!!!! For an enlightened viewer to get to the essence of that metaphor,–i.e. for a successful communion to take place, the geometric ground plan is there to make sense of what we see in its composition. The task of the Alpha Seer is to establish that metaphor from a crude formation to one with subtlety, i.e. one that would satisfy the Tao of painting, enriched with Supreme Mathematical Relationships,– which provide the definition for a perfect form. In the same way a poet rewrites a draft to perfection in order to attain its final expression and achieve readiness for publication.

Some basic commonalities in great art can be pointed out as follows.
Please don’t forget, the profoundest spiritual laws in the universe can also be found in the most common of physical laws.

1. Because the curve of the circle and the run of the straight are the most powerful of lines possible,– with the entire composition lying on the locus of circles and straight there is created a sense of formal compactness. One can often sense the existence of that compactness in masterful Chinese calligraphy.
2. The geometric ground plans,– working within the fantastic dhamma of Supreme Mathematical Relationships,– also known as the Tao of ultimate composition making, of having part connecting to parts, and parts relating to whole,– eventually bringing all the forms together in a harmonious unit and unity.
3. The geometric ground plan has effectively created a flatness in design. Designing on a 2 dimensional space only a flat design can be possible,–and only such a design can be called realistic. Thus anything “going into space” is nothing more than the whims of an illustrator. The result is an illustration.( think of Norman Rockwell and Salvador Dali.) As one can see in the diagrams, even a sculpture ( i.e. the sphinx sculpture here ) should also give a strong sense of flatness in design when viewed from any direction. This sense of flatness in design is characteristic of all great arts since time immemorial.
4. By presenting those images in black and white, the Yin and Yang interactions can be immediately detected and recognized at a glance. (Remember the Yin and Yang interaction in masterful Chinese calligraphy?) Thus it is possible to set up a basis for comparison with other compositions, wherein one sees, not only the soul of the metaphor, but also the direction and intent of an Alpha Seer of our time,– in the way he has evolved his own specific approach for solving compositional problems. For example, the forms of flowers by Knox Martin have been radically re-invented to allow for a more ingenious spacial interaction of the Yin and Yang energies.
5. Knox has never created anything out of abstraction in his life. I can fully attest to that. So it is completely mistaken for anyone to categorize his art as “abstract art.” Contemporary critics who have done so will find out one day that they must pay dearly for such an ignorance. An adverse judgment from History will be passed against them for this terrible absurdity. The entire career of Knox Martin is hinged on this clairvoyance of his, or amazing natural endowment, towards the creation of visual metaphors. To call Knox’s art “abstract” reflects very poorly on the art critic as it indicates an illiteracy and a blindness in plain view of such brilliant metaphors, each of them worthy at least, of one Nobel Prize in Literature each, if the Nobel Committee is willing to extend their Literature award to Painting as well. Knox’s expressions are extremely profound and subtle. He is the ultimate metaphor super-creator! His metaphors are chiefly those of women and flowers. He loves them both,– with a manly and artistic passion throughout his life! He is a lion in his own right!

Perhaps this statement from Knox here is worth a million words by the art critics who often fall into the trap of interpreting blindly the original intents of the great master, often through the mistaken notions of meaning such as the claim of a psychological indicator here or a societal implication there. Those types of interpretation are nothing more than shabby attempts to explain the work of a great artist on the cheap. Now look at this statement by Knox Martin himself. Knox said,” My works are about creation and, for the most part, women and flowers. Under the new science, women is cousin to plants; women are mobile plants.” It should be loud and clear enough, like a thunder clap on the horizon, forever proclaiming the enthroning of the uniquely radical contribution of Knox Martin to humanity!

Knox’s art can be traced back to the European tradition, which in turn inherits from ancient Egyptian and Greek Art, whereby a composition is built from the ground up, with the adoption of a geometric ground plan. Here I am trying to use curves and straights to indicate how that device works in the superb compositions of some of the greatest European Alpha Seers in the past. The constructions shown in the diagrams below are self-evident and self- explanatory enough,– so any further thesis from me on this topic will be counter- productive. Additional theories or analysis can inevitably reinforce the mistaken and moronic notion that somewhere along the line there exists a program for the creation of art,– and provided that you follow every step and learn them well you can one day paint like a master too. Even a 6 year old can call it bluff, — that such a claim is totally fraudulent!

The visual metaphor is the heart and soul of a work of art. The vehicle for the metaphor’s expression is part and parcel of itself. How beautifully it is being communicated is often determined by how profoundly the Alpha Seer can express himself. As such, a metaphor is in and of itself a vehicle for communication. In that sense, one cannot distinguish the metaphor from its carrier, since it serves as its own vehicle. The metaphor is the vehicle. The subject matter of art is art itself!!!! For an enlightened viewer to get to the essence of that metaphor,–i.e. for a successful communion to take place, the geometric ground plan is there to make sense of what we see in its composition. The task of the Alpha Seer is to establish that metaphor from a crude formation to one with subtlety, i.e. one that would satisfy the Tao of painting, enriched with Supreme Mathematical Relationships,– which provide the definition for a perfect form. In the same way a poet rewrites a draft to perfection in order to attain its final expression and achieve readiness for publication.

Some basic commonalities in great art can be pointed out as follows.
Please don’t forget, the profoundest spiritual laws in the universe can also be found in the most common of physical laws.

1. Because the curve of the circle and the run of the straight are the most powerful of lines possible,– with the entire composition lying on the locus of circles and straights there is created a sense of formal compactness. One can often sense the existence of that compactness in masterful Chinese calligraphy, and for this reason, the masterful calligraphy by Master Li Yung of the Tang Dynasty is inserted for comparison.
2. The geometric ground plans,– working within the fantastic dhamma of Supreme Mathematical Relationships,– also known as the Tao of ultimate composition making, of having part connecting to parts, and parts relating to whole,– eventually bringing all the forms together in a harmonious unit and unity.
3. The geometric ground plan has effectively created a flatness in design. Designing on a 2 dimensional space only a flat design can be possible,–and only such a design can be called realistic. Thus anything “going into space” is nothing more than the whims of an illustrator. The result is an illustration.( think of Norman Rockwell and Salvador Dali.) As one can see in the diagrams, even a sculpture ( i.e. the sphinx sculpture here ) should also give a strong sense of flatness in design when viewed from any direction. This sense of flatness in design is characteristic of all great arts since time immemorial.
4. By presenting those images in black and white, the Yin and Yang interactions can be immediately detected and recognized at a glance. (Remember the Yin and Yang interaction in masterful Chinese calligraphy?) Thus it is possible to set up a basis for comparison with other compositions, wherein one sees, not only the soul of the metaphor, but also the direction and intent of an Alpha Seer of our time,– in the way he has evolved his own specific approach for solving compositional problems. For example, the forms of flowers by Knox Martin have been radically re-invented to allow for a more ingenious spacial interaction of the Yin and Yang energies.
5. Knox has never created anything out of abstraction in his life. I can fully attest to that. So it is completely mistaken for anyone to categorize his art as “abstract art.” Contemporary critics who have done so will find out one day that they must pay dearly for such an ignorance. An adverse judgment from History will be passed against them for this terrible absurdity. The entire career of Knox Martin is hinged on this clairvoyance of his, or amazing natural endowment, towards the creation of visual metaphors. To call Knox’s art “abstract” reflects very poorly on the art critic as it indicates an illiteracy and a blindness in plain view of such brilliant metaphors, each of them worthy at least, of one Nobel Prize in Literature each, if the Nobel Committee is willing to extend their Literature award to Painting as well. Knox’s expressions are extremely profound and subtle. He is the ultimate metaphor super-creator! His metaphors are chiefly those of women and flowers. He loves them both,– with a manly and artistic passion throughout his life! He is a lion in his own right!

Perhaps this statement from Knox here is worth a million words by the art critics who often fall into the trap of interpreting blindly the original intents of the great master, often through the mistaken notions of meaning such as the claim of a psychological indicator here or a societal implication there. Those types of interpretation are nothing more than shabby attempts to explain the work of a great artist on the cheap. Now look at this statement by Knox Martin himself. Knox said,” My works are about creation and, for the most part, women and flowers. Under the new science, women is cousin to plants; women are mobile plants.” It should be loud and clear enough, like a thunder clap on the horizon, forever proclaiming the enthroning of the uniquely radical contribution of Knox Martin to humanity!

The Alpha Seer formerly called Ben Lau

(Ben Lau used to be a Wahyanite himself. Once a Wahyanite, always a . . . what?)

(Young Wahyanites take note: Wahyanite actually means “the most brilliant kids of south China,”–thanks to the enterprising Jesuits, who must have kept a secret recipe in recruiting you guys !)

March 28, 2009

Shortly after teaching at the Yale Graduate
School—I left because of interim politics—I find
myself teaching at the Art Students League, my
alma mater, with hilarity in kiddo plangent ricochets.
Meeting with an extraordinary cross-section
of so-called artists, painters, sculptors, poets,
and people like others. Seeing a thousand people,
gigs at other universities and schools—I meet Mr.
Ben Lau at the Art Students League—sort of like
James Joyce meeting Svevo-—in his classroom,
reading his effort and proclaiming “Sir, you are a
genius”—I let fall this intelligence on Ben. I have
said of Ben, “If you fell off a ladder—and your
brush hit the wall—it would be beautiful.”What
gives me the status, position, altitude to make
such a hootsy-cootchy? Same thing what gives
James Joyce clang—perfect pitch. That’s me,
which makes me the ultimate cigarro. It’s as it is,
does Ben get this? Some of it, part of it, all of its
stuff? Or does he take this to Ben’s domain—tee
hee!
Now, Ben picks up my notion of alpha art, and
takes off on the Alpha Seer puts that all into true
art blog and creates a miracle, some of it pure Ben
Lau, the rest is sweet truth. In several Titian
paintings the surface subject matter repeatedly
GIVES the message that you could not look upon
truth with impunity, to look upon truth all
mechanical things would vanish!
This is what I see as the working basics of this
book, a two edged sword cutting both ways and
being wounded at the same time in a highflying
clearing cutting a swath. Hopefully, not like a bull
in a china closet, but nailed down to specifics,
which is the way of the Alpha Seer book.
The Alpha seer burns with intelligence to torch
the doldrums of the insipid, the laughter out of
fear, herd consumption, leaders, dead fashion,
architects of rewards to no talent. Yes, no talent is
rewarded big time very fast and full so that the
vested interests won’t be threatened in their life
times(we don’t want any thing around we can’t
see) a-a-a-a-all is the same every thing is art, we
can now live the life of an artist. Tee hee, falderol.
Bruce Nauman displays a film on digging a fence
post hole on his property and says “this is art:”—
The position of the won’t be taken in, the Alpha
Seer is, nothing that Nauman has ever done is art!
Renoir said of Cézanne,“Man, he can’t put down
but three strokes, and it’s good”—good for what?
Aye—there’s the rub. Can it be, can it be, can it
really be that what is truly really essential in art be
so rare as to be done by us so very few in the face
of an ocean of art that comes out of the world
from the universities from the academies from the
rafters from the streets, it rains so-called artists,
the Turners,Monet, Pissarro, the German
Expressionists, the futurists, the ash can school—
Luks, Sloan, Bellows, Glackens,Whistler, Sir
Joshua Reynolds, South American art, all Latino
art, modern Japanese, modern Chinese, Russian,
American art,Mark Rothko, Clifford Still, Ad
Reinhardt, Gottlieb, Hans Hoffman, Jackson
Pollock—
There’s an immense sheet of wonderful people
who are not doing the central fire of art the same
way that all the rest on the list are not doing.
Francis Bacon, Turner, Damien Hirst may feed us
to the domains of non-monkey Cocco, the place
where reside—all those that promote only harmless
novelty and creatures from the id and dread
pool the drively unconscious as a Francis Bacon
painting a man on the toilet masturbating with
throat cut, lousy mealy colored and dead brushstrokes.
Of course this is button pushing
supreme—if your buttons are pushed you don’t
have to inspect the work!
All that bonafidely moves in the ultimate creation,
where creation is the subject matter—
which is anathema to what obscures, attempts to
remove all traces of whatever points to the real
thing.
Mephistopheles and a foul henchman while out
on a walk spot a man who has picked up something
in his hands glowing with a preternatural
grace, and he radiates enlightenment! The devil’s
companion asks his master, “What is that?”
Answer—“He has found truth”.””Well hell, isn’t
that bad for you?”“No” says Devil, “I will help him
to organize it.”
Would it be helpful to see a partial list of those
condemned on account of the subject matter of
their work is creation? Okay!—it’s Titian,
Velasquez, Adrien Brouwer, Franz Hals, Cézanne,
Matisse, Picasso, de Kooning and us chickens.
“On the smithy of my soul I go to create the yet
not created consciousness of my race.”—James
Joyce
As with the real stuff, which I have not included
here—ya gots ta read into the warp and weft of
the above and with rare intelligence come to grips
with what it is posited here.Who knows, Ben
Lau’s book The Alpha Seer will save the world.
—KNOX MARTIN